M.V.Narasimhachari
& M.Vasanthalakshmi express their impression of the seminar on choreography
at the Natya Kala Conference 2001 conducted
by Sri Krishna Gana Sabha and convened by Anita Ratnam.

CHOREOGRAPHYThe topic for the seminar was ‘Choreography
– the art of making Dances’.

January 2002

Convened
by Anita Ratnam, the entire seminar was well organized with the speakers
ranging from experienced old –timers to the fledgling choreographers of
the present.

Each and every
one of them had something to offer.

The concept
of ‘Space- inner, outer and the cosmic, Auchitya or appropriateness, the
place of abhinaya and rhythm in choreography, glimpses of the ‘further
soil’, the theatrical approach, the dynamics of group choreography, the
principles of Laban technique so on and so forth. All of these threw a
lot of light on the varied aspects of the comprehensive term ‘choreography’.

Some showed
the myriad possibilities within the frame -work of the classical idiom
while others stressed on the freedom required in giving expression to an
inner experience.

Choreography
- then and nowThe term ‘choreography’
seems to have been introduced by Lefeuillet in1699. Choreography, in the
context of ballet referred to the system of describing the dances with
the help of specific signs for the steps. This was to be written alongside
the melodies. In the present day context, it is understood as the
visual composition of the ballet.

The Greek word
‘Choreo’ stood for chorus or a group of singers assisting the main actors
of a play. Remaining in the background, the role of these singers was to
supplement, reinforce and establish the mood or the rasa of the dramatic
production.

Composing and
choreography are often treated as synonyms but a closer observation of
the two terms will make one realize that they actually are not. In fact,
while the act of composing is a constituent aspect of choreography, the
latter encompasses a lot more.

Choreography
- The wider perspectiveEven though
the term choreography may be relatively new to the Indian context, the
role of the choreographer is certainly not.

The choreographer
of the ancient Indian theatre functioned in a multifaceted capacity. He
ensured a smooth flow and a harmonious blend of events and worked out a
strategy that optimized the establishment and realization of rasa. The
person who played this key role was called the ‘Sootra dhaara’ or one who
holds and pulls the strings.

All of us are
familiar with the different aspects of nritta and abhinaya. In the realm
of music we have the dual aspects known as the Kalpita and the Manodharma
sangita or the composed and extempore aspects of music. Similarly, the
art of choreography too demands, in addition to the finished version of
a production, an ‘extra space’ that would enable the artiste to improvise
on the spot. This includes on the spot additions and deletions to the existing
composition. The resultant success of this modification is directly in
proportion with the capacity of the artiste to feel the pulse of the audience.
As opposed to ‘choreography’, the word ‘composed’ refers to a finished
product and therefore does not admit this ‘extra space’.

The highlight
of the seminar:The purpose
of the seminar was to understand the term ‘choreography’ in all its limitations
as well as expanse. When it was time to conclude, naturally several questions
were raised: some were answered, some argued over, while others remained
intact.

While all the
papers were well thought-out and presented, two presentations that came
with a difference were ‘Choreography work-shops for special needs’ by Astad
Deboo and ‘Revealed by Fire’ by Lata Pada.

These two productions
made the difference in their definition of the ultimate goal of art.Time and again
Indian scholars have stressed on the true purpose of the fine arts. These
are to enable the human beings to live richer and fuller lives experiencing,
sharing and spreading the delight of a meaningful existence. The first
one called for the choreographic skills required in being sensitive to
the special needs of the hearing impaired. The second one showed the tragic
circumstances under which the protagonist had lost her dear ones and her
subsequent struggle in coming to terms with that terrible loss. Although
this was the starting point, the ‘sahridaya’ in the audience was very quickly
transported to a higher, unifying realm where he began empathizing with
the artiste. Soon after, it was as though both the artiste and the audience
were absorbed in the rasaanubhava losing in the process, their individual
identity.

The message
that came through both these productions was loud and clear. It revealed
the role of art in one’s life as the healer, the guru or the guiding force
and above all a true friend.

May the art
of choreography expand a million-fold if need be, in realization of this
sublime goal.